Set in a future where a failed climate-change experiment kills all life on the planet except for a lucky few who boarded the Snowpiercer, a train that travels around the globe, where a class system emerges.
Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet's power problems.
Following clues to the origin of mankind a team journey across the universe and find a structure on a distant moon containing a monolithic statue of a humanoid head and stone cylinders of alien blood but they soon find they are not alone.
In 2074, when the mob wants to get rid of someone, the target is sent into the past, where a hired gun awaits - someone like Joe - who one day learns the mob wants to 'close the loop' by sending back Joe's future self for assassination.
The world's youngest citizen has just died at 18, and humankind is facing the likelihood of its own extinction. Set in and around a dystopian London fractious with violence and warring nationalistic sects, Children of Men follows the unexpected discovery of a lone pregnant woman and the desperate journey to deliver her to safety and restore faith for a future beyond those presently on Earth. Written by
The long shot when the Fiat Multipla is attacked by terrorists, with all the passengers inside, demanded a camera rig that could rotate within the car. They used a rig developed by Doggicam Systems, and controlled by a stunt driver. A vehicle was modified to enable seats to tilt and lower actors out of the way of the camera, and the windshield was designed to tilt out of the way to allow camera movement in and out through the front windscreen. The single shot was shot in six takes over four locations, requiring a lot of transition work from the VFX-house Double Negative as it pans around inside the car. The cocktail, stunt driver and motorcycle (from the moment it hits the car), windshield, blood, and roof, were all computer generated with 3-D animation. See more »
Arabic graffiti next to the word "uprising" is a misspelling
of "intifadah" ('uprising' in Arabic). It was written with the letter dal instead of dad. The correct spelling of intifadah uses the letter dad; it also ends with a ta marbuta, not an alef. See more »
Day 1,000 of the Siege of Seattle.
The Muslim community demands an end to the Army's occupation of mosques.
The Homeland Security bill is ratified. After eight years, British borders will remain closed. The deportation of illegal immigrants will continue. Good morning. Our lead story.
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At the very end, one can read "Shantih, Shantih, Shantih" with children shouting and laughing on the soundtrack, which can be heard repeatedly throughout the end credits. This is the last line of T.S. Eliot's 1922 poem "The Wasteland." "Shantih" means "peace" in Hindi. See more »
Alfonso Cuaron has given us a very clever rendering of a very English dystopian novel. P D James, the "Baroness of Bad" is famous for her well-written and absorbing police procedural novels ("Inspector Dalgliesh") but in the early 90s she produced a vision of a world only 20 years into the future in which for unspecified reasons all the women on earth have become infertile and no babies have been born for the last 18 years.
The rest of the world has lapsed into chaos but the British, stoically, have put the remainder of their civil liberties into the fire and have settled down under an oppressive dictatorship to ward off foreign boarders and await inevitable extinction, though there are some violent dissidents called the fish.
Theo (Clive Owen), a journalist with connections to the top, is "persuaded" by his ex-wife and fish member Julian (Julianne Moore) to obtain some exit papers for Kee (Claire Hope Ashity) a young black woman, who, it turns out, is pregnant. Theo is swept up in Kee's escape across a grim decaying landscape. Not only are there the security forces to contend with, but some equally ruthless insurgents. Cuaron builds the tension exquisitely, interspersing the adrenaline fueled bits with quieter bits.
Kee' projected saviors are a mysterious group called the Human Project who conveniently sail their well-maintained Greenpeace style ex-North Sea fishing trawler past offshore light buoys in the hope of rescuing the human race. But the improbability of this doesn't matter much because by the end of the movie Cuaron has effectively demonstrated what the world would be like if humankind suddenly stopped reproducing. Having children is our way of cheating death, without them there is nothing but death, and in this future there are none about but the living dead.
The casting is pretty well perfect. Clive Owen as Theo puts his haunted good looks to good use as he turns from cynical reporter to a hunted enemy of the state. The motley characters he meets along the way his ex-wife, the fish rebels, the refugees who help him, the "fascist pig" border guard and above all Michael Caine's aging hippie are all wonderfully realized.
It has been suggested that Cuaron has really made a film about today, not 20 years into the future. The rampaging security forces we see might as well be in Bosnia or Iraq, or even Northern Ireland. In an age of terrorism, order without law very quickly becomes tyranny, which has never been the answer to terrorism. What he and PD James do demonstrate is just how fragile our civil society is.
As a film this is a very fine piece of work. The sets exude grimy Britain, the battles are hair-raising, the quieter moments intense. Cuaron would do a great James Bond movie. He has turned a rather rarefied novel into an exiting and engrossing thriller without obscuring the original message. He is a very versatile and enterprising film-maker and I'm sure he's going to do lots more good stuff.
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